As a point of entry and exit, a threshold has a dual coding in society as both a physical and symbolic marker of separation and connection. Thresholds are often explicitly hard-edged or even brutal in their expression, demarcating rigid boundaries, as in the definitive lines of walls, barricades, and security checkpoints in buildings, around cities, or across larger territories. Too often, thresholds also divide human activity or communities according to social, ethnic, national, or economic characteristics. Architecture and planning can unwittingly contribute to these different forms of physical separation, especially in ways made visible through their practitioners’ interpretations of culture, religion, or legislation. As the academic disciplines that inform spatial practices, architecture and planning are themselves often similarly separated by disciplinary thresholds, inhibiting porosity between fields of research. By definition, an individual discipline necessarily is organized around a self-referential center of discursive production, but this often happens at the expense of the richness found at the intersection of multiple disciplinary perspectives. Is architecture, in its compulsive drive to create the autonomous object, inherently hardening the thresholds separating it from other disciplines and, by extension, reproducing those schisms within the built environment? Can architecture and planning intentionally construct soft thresholds – lines that are easily traversed, even temporarily erased – thereby allowing for multiple perspectives across different modes of research and practice and catalyzing disciplinary and social connections? What, then, is the physical expression of a soft threshold – a space that is visually and physically porous, plural in spirit, encompassing of its context, and yet rigorous in its expression?
In this talk, Mehortra discusses these and other considerations with reference to the current GSD exhibition of the same title, on the works of RMAArchitects, Mumbai + Boston, representing the compulsive drive of the practice to construct soft thresholds – through research, engagement with the city, and making of architecture.

Garden furniture

Garden furniture, also called patio furniture or outdoor furniture, is a type of furniture specifically designed for outdoor use. It is typically made of weather-resistant materials such as aluminium which does not rust. The oldest surviving examples of garden furniture were found in the gardens of Pompeii.

Types of furniture

Wooden furniture

Bamboo furniture

Wicker or rattan furniture

Metal furniture

Plastic furniture (a.k.a. acrylic furniture)

Glass furniture

Concrete furniture

Outdoor Furniture Types By Durability

Wrought Iron

Mahogany

Teak

Cast Aluminum

PE Wicker

Plastic

PVC Wicker

Seating

Garden furniture is often sold as a patio set consisting of a table, four or six chairs, and a (parasol). A picnic table is used for the purpose of eating a meal outdoors. Long chairs, referred to as chaise longue, are also common items. Recently seating furniture has been used for conversation areas using items like couches.

Temperature control

The British 'garden parasol' or American 'garden umbrella' is the term for a specialised type of umbrella designed to provide shade from the sun. Parasols are either secured in a weighted base or a built-in mount in the paving. Some are movable around outdoor tables and seating, others centred through a hole mid-table.

Garden

A garden is a planned space, usually outdoors, set aside for the display, cultivation, and enjoyment of plants and other forms of nature. The garden can incorporate both natural and man-made materials. The most common form today is known as a residential garden, but the term garden has traditionally been a more general one. Zoos, which display wild animals in simulated natural habitats, were formerly called zoological gardens. Western gardens are almost universally based on plants, with garden often signifying a shortened form of botanical garden.

Some traditional types of eastern gardens, such as Zen gardens, use plants sparsely or not at all. Xeriscape gardens use local native plants that do not require irrigation or extensive use of other resources while still providing the benefits of a garden environment. Gardens may exhibit structural enhancements, sometimes called follies, including water features such as fountains, ponds (with or without fish), waterfalls or creeks, dry creek beds, statuary, arbors, trellises and more.

Exhibition Lecture: Rahul Mehrotra

As a point of entry and exit, a threshold has a dual coding in society as both a physical and symbolic marker of separation and connection. Thresholds are often explicitly hard-edged or even brutal in their expression, demarcating rigid boundaries, as in the definitive lines of walls, barricades, and security checkpoints in buildings, around cities, or across larger territories. Too often, thresholds also divide human activity or communities according to social, ethnic, national, or economic characteristics. Architecture and planning can unwittingly contribute to these different forms of physical separation, especially in ways made visible through their practitioners’ interpretations of culture, religion, or legislation. As the academic disciplines that inform spatial practices, architecture and planning are themselves often similarly separated by disciplinary thresholds, inhibiting porosity between fields of research. By definition, an individual discipline necessarily is organized around a self-referential center of discursive production, but this often happens at the expense of the richness found at the intersection of multiple disciplinary perspectives. Is architecture, in its compulsive drive to create the autonomous object, inherently hardening the thresholds separating it from other disciplines and, by extension, reproducing those schisms within the built environment? Can architecture and planning intentionally construct soft thresholds – lines that are easily traversed, even temporarily erased – thereby allowing for multiple perspectives across different modes of research and practice and catalyzing disciplinary and social connections? What, then, is the physical expression of a soft threshold – a space that is visually and physically porous, plural in spirit, encompassing of its context, and yet rigorous in its expression?
In this talk, Mehortra discusses these and other considerations with reference to the current GSD exhibition of the same title, on the works of RMAArchitects, Mumbai + Boston, representing the compulsive drive of the practice to construct soft thresholds – through research, engagement with the city, and making of architecture.

Exhibition Lecture: Rahul Mehrotra

As a point of entry and exit, a threshold has a dual coding in society as both a physical and symbolic marker of separation and connection. Thresholds are often explicitly hard-edged or even brutal in their expression, demarcating rigid boundaries, as in the definitive lines of walls, barricades, and security checkpoints in buildings, around cities, or across larger territories. Too often, thresholds also divide human activity or communities according to social, ethnic, national, or economic characteristics. Architecture and planning can unwittingly contribute to these different forms of physical separation, especially in ways made visible through their practitioners’ interpretations of culture, religion, or legislation. As the academic disciplines that inform spatial practices, architectu...

Exhibition Lecture: Rahul Mehrotra

As a point of entry and exit, a threshold has a dual coding in society as both a physical and symbolic marker of separation and connection. Thresholds are often...

As a point of entry and exit, a threshold has a dual coding in society as both a physical and symbolic marker of separation and connection. Thresholds are often explicitly hard-edged or even brutal in their expression, demarcating rigid boundaries, as in the definitive lines of walls, barricades, and security checkpoints in buildings, around cities, or across larger territories. Too often, thresholds also divide human activity or communities according to social, ethnic, national, or economic characteristics. Architecture and planning can unwittingly contribute to these different forms of physical separation, especially in ways made visible through their practitioners’ interpretations of culture, religion, or legislation. As the academic disciplines that inform spatial practices, architecture and planning are themselves often similarly separated by disciplinary thresholds, inhibiting porosity between fields of research. By definition, an individual discipline necessarily is organized around a self-referential center of discursive production, but this often happens at the expense of the richness found at the intersection of multiple disciplinary perspectives. Is architecture, in its compulsive drive to create the autonomous object, inherently hardening the thresholds separating it from other disciplines and, by extension, reproducing those schisms within the built environment? Can architecture and planning intentionally construct soft thresholds – lines that are easily traversed, even temporarily erased – thereby allowing for multiple perspectives across different modes of research and practice and catalyzing disciplinary and social connections? What, then, is the physical expression of a soft threshold – a space that is visually and physically porous, plural in spirit, encompassing of its context, and yet rigorous in its expression?
In this talk, Mehortra discusses these and other considerations with reference to the current GSD exhibition of the same title, on the works of RMAArchitects, Mumbai + Boston, representing the compulsive drive of the practice to construct soft thresholds – through research, engagement with the city, and making of architecture.

As a point of entry and exit, a threshold has a dual coding in society as both a physical and symbolic marker of separation and connection. Thresholds are often explicitly hard-edged or even brutal in their expression, demarcating rigid boundaries, as in the definitive lines of walls, barricades, and security checkpoints in buildings, around cities, or across larger territories. Too often, thresholds also divide human activity or communities according to social, ethnic, national, or economic characteristics. Architecture and planning can unwittingly contribute to these different forms of physical separation, especially in ways made visible through their practitioners’ interpretations of culture, religion, or legislation. As the academic disciplines that inform spatial practices, architecture and planning are themselves often similarly separated by disciplinary thresholds, inhibiting porosity between fields of research. By definition, an individual discipline necessarily is organized around a self-referential center of discursive production, but this often happens at the expense of the richness found at the intersection of multiple disciplinary perspectives. Is architecture, in its compulsive drive to create the autonomous object, inherently hardening the thresholds separating it from other disciplines and, by extension, reproducing those schisms within the built environment? Can architecture and planning intentionally construct soft thresholds – lines that are easily traversed, even temporarily erased – thereby allowing for multiple perspectives across different modes of research and practice and catalyzing disciplinary and social connections? What, then, is the physical expression of a soft threshold – a space that is visually and physically porous, plural in spirit, encompassing of its context, and yet rigorous in its expression?
In this talk, Mehortra discusses these and other considerations with reference to the current GSD exhibition of the same title, on the works of RMAArchitects, Mumbai + Boston, representing the compulsive drive of the practice to construct soft thresholds – through research, engagement with the city, and making of architecture.

Exhibition Lecture: Rahul Mehrotra

As a point of entry and exit, a threshold has a dual coding in society as both a physical and symbolic marker of separation and connection. Thresholds are often explicitly hard-edged or even brutal in their expression, demarcating rigid boundaries, as in the definitive lines of walls, barricades, and security checkpoints in buildings, around cities, or across larger territories. Too often, thresholds also divide human activity or communities according to social, ethnic, national, or economic characteristics. Architecture and planning can unwittingly contribute to these different forms of physical separation, especially in ways made visible through their practitioners’ interpretations of culture, religion, or legislation. As the academic disciplines that inform spatial practices, architectu...

Exhibition Lecture: Rahul Mehrotra

As a point of entry and exit, a threshold has a dual coding in society as both a physical and symbolic marker of separation and connection. Thresholds are often...

As a point of entry and exit, a threshold has a dual coding in society as both a physical and symbolic marker of separation and connection. Thresholds are often explicitly hard-edged or even brutal in their expression, demarcating rigid boundaries, as in the definitive lines of walls, barricades, and security checkpoints in buildings, around cities, or across larger territories. Too often, thresholds also divide human activity or communities according to social, ethnic, national, or economic characteristics. Architecture and planning can unwittingly contribute to these different forms of physical separation, especially in ways made visible through their practitioners’ interpretations of culture, religion, or legislation. As the academic disciplines that inform spatial practices, architecture and planning are themselves often similarly separated by disciplinary thresholds, inhibiting porosity between fields of research. By definition, an individual discipline necessarily is organized around a self-referential center of discursive production, but this often happens at the expense of the richness found at the intersection of multiple disciplinary perspectives. Is architecture, in its compulsive drive to create the autonomous object, inherently hardening the thresholds separating it from other disciplines and, by extension, reproducing those schisms within the built environment? Can architecture and planning intentionally construct soft thresholds – lines that are easily traversed, even temporarily erased – thereby allowing for multiple perspectives across different modes of research and practice and catalyzing disciplinary and social connections? What, then, is the physical expression of a soft threshold – a space that is visually and physically porous, plural in spirit, encompassing of its context, and yet rigorous in its expression?
In this talk, Mehortra discusses these and other considerations with reference to the current GSD exhibition of the same title, on the works of RMAArchitects, Mumbai + Boston, representing the compulsive drive of the practice to construct soft thresholds – through research, engagement with the city, and making of architecture.

As a point of entry and exit, a threshold has a dual coding in society as both a physical and symbolic marker of separation and connection. Thresholds are often explicitly hard-edged or even brutal in their expression, demarcating rigid boundaries, as in the definitive lines of walls, barricades, and security checkpoints in buildings, around cities, or across larger territories. Too often, thresholds also divide human activity or communities according to social, ethnic, national, or economic characteristics. Architecture and planning can unwittingly contribute to these different forms of physical separation, especially in ways made visible through their practitioners’ interpretations of culture, religion, or legislation. As the academic disciplines that inform spatial practices, architecture and planning are themselves often similarly separated by disciplinary thresholds, inhibiting porosity between fields of research. By definition, an individual discipline necessarily is organized around a self-referential center of discursive production, but this often happens at the expense of the richness found at the intersection of multiple disciplinary perspectives. Is architecture, in its compulsive drive to create the autonomous object, inherently hardening the thresholds separating it from other disciplines and, by extension, reproducing those schisms within the built environment? Can architecture and planning intentionally construct soft thresholds – lines that are easily traversed, even temporarily erased – thereby allowing for multiple perspectives across different modes of research and practice and catalyzing disciplinary and social connections? What, then, is the physical expression of a soft threshold – a space that is visually and physically porous, plural in spirit, encompassing of its context, and yet rigorous in its expression?
In this talk, Mehortra discusses these and other considerations with reference to the current GSD exhibition of the same title, on the works of RMAArchitects, Mumbai + Boston, representing the compulsive drive of the practice to construct soft thresholds – through research, engagement with the city, and making of architecture.

Exhibition Lecture: Rahul Mehrotra

As a point of entry and exit, a threshold has a dual coding in society as both a physical and symbolic marker of separation and connection. Thresholds are often explicitly hard-edged or even brutal in their expression, demarcating rigid boundaries, as in the definitive lines of walls, barricades, and security checkpoints in buildings, around cities, or across larger territories. Too often, thresholds also divide human activity or communities according to social, ethnic, national, or economic characteristics. Architecture and planning can unwittingly contribute to these different forms of physical separation, especially in ways made visible through their practitioners’ interpretations of culture, religion, or legislation. As the academic disciplines that inform spatial practices, architecture and planning are themselves often similarly separated by disciplinary thresholds, inhibiting porosity between fields of research. By definition, an individual discipline necessarily is organized around a self-referential center of discursive production, but this often happens at the expense of the richness found at the intersection of multiple disciplinary perspectives. Is architecture, in its compulsive drive to create the autonomous object, inherently hardening the thresholds separating it from other disciplines and, by extension, reproducing those schisms within the built environment? Can architecture and planning intentionally construct soft thresholds – lines that are easily traversed, even temporarily erased – thereby allowing for multiple perspectives across different modes of research and practice and catalyzing disciplinary and social connections? What, then, is the physical expression of a soft threshold – a space that is visually and physically porous, plural in spirit, encompassing of its context, and yet rigorous in its expression?
In this talk, Mehortra discusses these and other considerations with reference to the current GSD exhibition of the same title, on the works of RMAArchitects, Mumbai + Boston, representing the compulsive drive of the practice to construct soft thresholds – through research, engagement with the city, and making of architecture.

Exhibition Lecture: Rahul Mehrotra

As a point of entry and exit, a threshold has a dual coding in society as both a physical and symbolic marker of separation and connection. Thresholds are often explicitly hard-edged or even brutal in their expression, demarcating rigid boundaries, as in the definitive lines of walls, barricades, and security checkpoints in buildings, around cities, or across larger territories. Too often, thresholds also divide human activity or communities according to social, ethnic, national, or economic characteristics. Architecture and planning can unwittingly contribute to these different forms of physical separation, especially in ways made visible through their practitioners’ interpretations of culture, religion, or legislation. As the academic disciplines that inform spatial practices, architecture and planning are themselves often similarly separated by disciplinary thresholds, inhibiting porosity between fields of research. By definition, an individual discipline necessarily is organized around a self-referential center of discursive production, but this often happens at the expense of the richness found at the intersection of multiple disciplinary perspectives. Is architecture, in its compulsive drive to create the autonomous object, inherently hardening the thresholds separating it from other disciplines and, by extension, reproducing those schisms within the built environment? Can architecture and planning intentionally construct soft thresholds – lines that are easily traversed, even temporarily erased – thereby allowing for multiple perspectives across different modes of research and practice and catalyzing disciplinary and social connections? What, then, is the physical expression of a soft threshold – a space that is visually and physically porous, plural in spirit, encompassing of its context, and yet rigorous in its expression?
In this talk, Mehortra discusses these and other considerations with reference to the current GSD exhibition of the same title, on the works of RMAArchitects, Mumbai + Boston, representing the compulsive drive of the practice to construct soft thresholds – through research, engagement with the city, and making of architecture.

Exhibition Lecture: Rahul Mehrotra...

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ADDIS ABABA, Ethiopia (AP) -- Ethiopia's defense minister on Saturday ruled out a military takeover a day after the East African nation declared a new state of emergency amid the worst anti-government protests in a quarter-century. The United States said it "strongly disagrees" with the new declaration that effectively bans protests, with a U.S ... He also ruled out a transitional government ... Learn more about our and . ....

In August 2016, a research plane was able to observe something strange in the atmosphere above Alaska's Aleutian Islands, lingering aerosol particle that was enriched with the same kind of uranium used in nuclear fuel and bombs, according to Gizmodo. The observation was the first time that scientists detected a particle free-floating in the atmosphere in over 20 years of plane-based observations ... ... -WN.com, Maureen Foody....

One day in August 1995 a man called Foutanga Babani Sissoko walked into the head office of the Dubai Islamic Bank and asked for a loan to buy a car. The manager agreed, and Sissoko invited him home for dinner. It was the prelude, writes the BBC's Brigitte Scheffer, to one of the most audacious confidence tricks of all time. Over dinner, Sissoko made a startling claim ... With these powers, he could take a sum of money and double it ... ....

MEXICOCITY. A strong earthquake shook southern and central Mexico Friday, causing panic less than six months after two devastating quakes that killed hundreds of people. No buildings collapsed, according to early reports. But two towns near the epicenter, in the southern state of Oaxaca, reported damage and state authorities said they had opened emergency shelters ... It was also felt in the states of Guerrero, Puebla and Michoacan ... AFP ... ....

Mexico City – A military helicopter carrying officials assessing damage from a powerful earthquake crashed Friday in southern Mexico, killing 13 people and injuring 15, all of them on the ground. The Oaxaca state prosecutor’s office said in a statement that five women, four men and three children were killed at the crash site and another person died later at the hospital ...Alejandro Murat, neither of whom had serious injuries ... The U.S ... ....

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JosephAntique show, For the Love of Junk, featured vintage, antique and custom made items ... Joseph's RustyChandelier, Cindy Smith, explained how the annual antique show is put on every year and who takes part. “It is an antique and vintage market. We have over 55 dealers with a mixture of antiques and repurposed items ... Jesse JamesAntique mall sponsored the event ... Smith believes that every year antique items grow in numbers....

I need eight hours of sleep, but I never get it, except at weekends. I have anxiety dreams, usually about putting up an exhibition and not having the work. Sometimes work comes to me in a dream. You can be gnawing away at something for months, years even, and suddenly wake up and it gels. I do 10 minutes of Pilates every morning, if I’m in the mood. I don’t skip meals because I get blood sugary ...Joe Wicks ... I love antiques and food markets....

First, let’s get the dragon in the room out of the way ...It’s a smart move ... Instead, Paris, who has spent the days since the beauty contest waiting for the “most beautiful woman in the world” promised by victor Aphrodite, meets with Spartan queen Helen (Bella Dayne) and convinces her to elope with him in a conveniently sized piece of antique furniture while her snippy husband Menelaus (Jonas Armstrong) is at his father’s funeral ... ....

Missoulians flocked to the Missoula Art Museum by the dozens Saturday with some of their oldest, rarest and — they hoped — most valuable artifacts. Appraisers TimothyGordon and Grant Zahajko, who have both appeared on AntiquesRoadshow, donated four hours of their time as a fundraiser for MAM and to help people understand the history of their possessions and how much they’re worth in today’s market ...Mary’sLake ... ....